1 00:00:00,240 --> 00:00:04,720 Speaker 1: Breaking his weekend breakfast Virginity is that award winning performer 2 00:00:04,800 --> 00:00:07,360 Speaker 1: actor all round good chap Low Venters in studio. 3 00:00:07,400 --> 00:00:09,240 Speaker 2: Hello, hid, are you? 4 00:00:09,480 --> 00:00:10,799 Speaker 3: I'm terribly well? 5 00:00:10,920 --> 00:00:15,120 Speaker 2: Actually really, I mean yes, I can see that. I 6 00:00:15,200 --> 00:00:19,160 Speaker 2: think you're literally glowing. I mean, if I've give the feeling, 7 00:00:19,200 --> 00:00:21,520 Speaker 2: if we turn off the lads, I could probably still 8 00:00:21,560 --> 00:00:24,400 Speaker 2: read a little bit from the glow going or for 9 00:00:24,440 --> 00:00:27,200 Speaker 2: you this morning. Maybe he's just very happy. I don't know, 10 00:00:27,280 --> 00:00:28,280 Speaker 2: but it's great to see. 11 00:00:28,440 --> 00:00:30,520 Speaker 3: I can't confirm or deny any of that. 12 00:00:32,200 --> 00:00:34,920 Speaker 2: Great, but at least I'm also learning some words. 13 00:00:35,200 --> 00:00:38,159 Speaker 3: Yeah, I mean, I'm just I mean, you're learning words. 14 00:00:38,240 --> 00:00:40,440 Speaker 1: I don't know if there are words that Oxford would 15 00:00:40,479 --> 00:00:43,319 Speaker 1: add to their concise English dictionary, because I think I'm 16 00:00:43,360 --> 00:00:44,440 Speaker 1: just making them up as I go. 17 00:00:44,560 --> 00:00:46,480 Speaker 2: And then we have to ask ourselves where do words 18 00:00:46,520 --> 00:00:48,559 Speaker 2: come from? Well, that's there to be made up at 19 00:00:48,600 --> 00:00:50,120 Speaker 2: some point, right, true. 20 00:00:50,120 --> 00:00:51,680 Speaker 3: I was not. 21 00:00:51,880 --> 00:00:54,160 Speaker 1: I was pretty old when I discovered how much of 22 00:00:54,200 --> 00:00:57,400 Speaker 1: the English language had been with Shakespeare, had been bastardised 23 00:00:57,440 --> 00:01:01,000 Speaker 1: from Shakespeare. Right, But like weird words that you would, yes, 24 00:01:01,200 --> 00:01:03,440 Speaker 1: like I can't think of I can't think of a 25 00:01:03,480 --> 00:01:06,119 Speaker 1: single one now, I can't either, but we. 26 00:01:06,120 --> 00:01:07,000 Speaker 2: Both know they're there. 27 00:01:07,080 --> 00:01:10,320 Speaker 1: We do know they're there, and that's all that matters. Good, 28 00:01:10,560 --> 00:01:12,840 Speaker 1: good outfit choice. By the way, thank you very much. 29 00:01:12,880 --> 00:01:15,120 Speaker 2: I actually got the shirt for a party there of 30 00:01:15,200 --> 00:01:18,919 Speaker 2: my mother's was seventy fifth and the theme was dots. 31 00:01:19,200 --> 00:01:22,520 Speaker 3: So her name that would have been good. 32 00:01:22,520 --> 00:01:26,800 Speaker 2: You know her name is Adela of course. Yeah Afrikaans. 33 00:01:26,920 --> 00:01:31,319 Speaker 1: Yeah, good, good glasses, good earrings, Thank you very much. 34 00:01:31,319 --> 00:01:33,080 Speaker 1: What have we got going on in the ears this morning? 35 00:01:33,200 --> 00:01:36,760 Speaker 2: This is also this is These are little antelope actually 36 00:01:37,160 --> 00:01:39,960 Speaker 2: that my daughter got for me for my fiftieth Lovely 37 00:01:40,319 --> 00:01:43,000 Speaker 2: There's literally nothing I'm wearing that does not have some 38 00:01:43,040 --> 00:01:44,000 Speaker 2: emotional connection. 39 00:01:44,040 --> 00:01:46,679 Speaker 3: I love that. Yeah, that's good, that's very I. 40 00:01:46,680 --> 00:01:50,280 Speaker 2: Mean this bracelet reminds me of my father and so 41 00:01:50,440 --> 00:01:55,280 Speaker 2: and so for these are my work friends bracelet A little, 42 00:01:57,040 --> 00:01:59,960 Speaker 2: I really do. A girl's got to accept. 43 00:02:00,320 --> 00:02:01,240 Speaker 3: No, you're quite right. 44 00:02:01,520 --> 00:02:03,640 Speaker 1: I tell you what you've caught me nude today and 45 00:02:03,640 --> 00:02:06,960 Speaker 1: that I'm earringless, but I'm normally I like a big 46 00:02:07,000 --> 00:02:07,720 Speaker 1: hooped earing. 47 00:02:08,240 --> 00:02:10,680 Speaker 3: This conversation has got nothing to do with what you're doing. 48 00:02:10,760 --> 00:02:14,080 Speaker 1: Let's talk about please, can we talk about you and 49 00:02:14,120 --> 00:02:14,919 Speaker 1: what you're doing? 50 00:02:15,200 --> 00:02:15,440 Speaker 3: Right? 51 00:02:15,600 --> 00:02:21,800 Speaker 1: So, yes, you are back at Colt Bay this coming Wednesday. 52 00:02:21,840 --> 00:02:24,000 Speaker 1: I don't know why I thought it was happening tonight because. 53 00:02:23,800 --> 00:02:26,280 Speaker 2: I've got another show tonight, but that's an entirely different thing. 54 00:02:26,600 --> 00:02:28,760 Speaker 2: But I'm here to talk to you about Dead. 55 00:02:28,639 --> 00:02:32,560 Speaker 1: Dad, which seems like it isn't going to be funny 56 00:02:33,200 --> 00:02:36,520 Speaker 1: given the subject matter, but I'm told is uproariously, so. 57 00:02:36,880 --> 00:02:41,119 Speaker 2: It is a great show. I'm super excited. So I'll 58 00:02:41,120 --> 00:02:43,480 Speaker 2: give you a little context you understand where this comes from. 59 00:02:44,080 --> 00:02:47,040 Speaker 2: Years ago, I had a show called The Best Man's Speech, 60 00:02:48,000 --> 00:02:51,919 Speaker 2: which was a really successful show twured a lot, I think, 61 00:02:52,720 --> 00:02:56,359 Speaker 2: I mean I twitter that show for four years. It 62 00:02:56,440 --> 00:02:59,959 Speaker 2: was translated and had an entire life of its own 63 00:03:00,120 --> 00:03:04,880 Speaker 2: rakaants with a completely different actor, and it was directed 64 00:03:04,880 --> 00:03:07,960 Speaker 2: by Rolin Feer in the original Best Man's Speech. And 65 00:03:08,000 --> 00:03:13,320 Speaker 2: then I had the amazing fortune that it turned into 66 00:03:13,360 --> 00:03:17,280 Speaker 2: my first feature film that I wrote. So I wrote 67 00:03:17,280 --> 00:03:19,440 Speaker 2: that film and I played the lead role in it. 68 00:03:19,440 --> 00:03:23,560 Speaker 2: It was called Confetti, So it's had. That show had 69 00:03:23,600 --> 00:03:28,000 Speaker 2: an incredible life, and the premise of the show was 70 00:03:28,600 --> 00:03:31,560 Speaker 2: that I am the best man and my audience are 71 00:03:31,680 --> 00:03:36,080 Speaker 2: the un witting guests at a wedding and I'm doing 72 00:03:36,080 --> 00:03:39,360 Speaker 2: the best man's speech, which goes a reflectly wrong because 73 00:03:39,360 --> 00:03:42,000 Speaker 2: of all of the personal connotations that this character has 74 00:03:42,040 --> 00:03:44,600 Speaker 2: to all these characters, all the so called characters in 75 00:03:44,640 --> 00:03:48,720 Speaker 2: the audience. And I've been toying an idea of a 76 00:03:48,760 --> 00:03:54,000 Speaker 2: sequel for this ever since, and this year, for whatever reason, 77 00:03:54,120 --> 00:04:01,200 Speaker 2: the the spirit spoke to me and I wrote Their Dad, 78 00:04:01,480 --> 00:04:05,160 Speaker 2: which takes a similar form in that the audience is, 79 00:04:06,080 --> 00:04:10,280 Speaker 2: you know, the unwitting participants in the show. But this 80 00:04:10,520 --> 00:04:15,080 Speaker 2: is the same character. Look as his father's wake, right, 81 00:04:15,640 --> 00:04:19,520 Speaker 2: and poor Lucas the character that I play has to 82 00:04:20,520 --> 00:04:23,440 Speaker 2: perform the eulogy for his dearly departed. 83 00:04:22,960 --> 00:04:27,440 Speaker 1: Father Jack Already, I'm laughing. It is it is because 84 00:04:27,480 --> 00:04:29,560 Speaker 1: that's my reaction to death a lot. 85 00:04:29,720 --> 00:04:31,680 Speaker 2: Well, this is the thing. My father passed away a 86 00:04:31,680 --> 00:04:33,640 Speaker 2: couple years ago, and obviously you know that's that's a 87 00:04:33,640 --> 00:04:37,159 Speaker 2: big thing. Sure, you know, the original show is about weddings. 88 00:04:37,360 --> 00:04:42,280 Speaker 2: Weddings are big. People come from far, they dress up, 89 00:04:42,320 --> 00:04:45,360 Speaker 2: and you know, we attach so much importance to these things, 90 00:04:45,440 --> 00:04:49,720 Speaker 2: and all of the small issues in life suddenly become magnified. 91 00:04:50,040 --> 00:04:54,400 Speaker 2: The feuds, the uncomfortable issues that you know, the friendships, 92 00:04:54,440 --> 00:04:57,640 Speaker 2: everything's elevated, and I'm interested in those those spaces where 93 00:04:57,640 --> 00:05:01,200 Speaker 2: things are elevating. So what as that if it's not 94 00:05:01,240 --> 00:05:05,400 Speaker 2: a wedding, well maybe it's a funeral. And there's also 95 00:05:05,440 --> 00:05:09,080 Speaker 2: a lot, I think to be said for the healing 96 00:05:09,400 --> 00:05:17,120 Speaker 2: that happens with laughter, with you know, perking the dragon 97 00:05:17,360 --> 00:05:23,640 Speaker 2: in its eye, you know what I mean, Because this 98 00:05:23,680 --> 00:05:29,279 Speaker 2: isn't I'm not making fun of death. I'm making fun 99 00:05:29,400 --> 00:05:34,360 Speaker 2: of the way that we we take ourselves so seriously 100 00:05:34,400 --> 00:05:36,640 Speaker 2: and we don't allow ourselves to break, you know what 101 00:05:36,680 --> 00:05:40,440 Speaker 2: I mean. And I think the incredible thing about art 102 00:05:40,640 --> 00:05:43,800 Speaker 2: is that it gives us opportunities to release some of 103 00:05:43,800 --> 00:05:47,560 Speaker 2: the pressure and to sort of deal with traumas and 104 00:05:48,360 --> 00:05:53,200 Speaker 2: what is essentially a safe space. And then on top 105 00:05:53,240 --> 00:05:55,520 Speaker 2: of that, what I really am excited about I was 106 00:05:55,560 --> 00:05:58,599 Speaker 2: thinking about it this morning. The world we live in. 107 00:05:58,839 --> 00:06:01,800 Speaker 2: There's nothing we can't do. AI can do. Can give 108 00:06:01,800 --> 00:06:04,800 Speaker 2: you any picture you want in any stupid, horrible Solas 109 00:06:04,880 --> 00:06:08,800 Speaker 2: video you want. And you know, every twelve year old 110 00:06:08,800 --> 00:06:11,160 Speaker 2: out there with a cell phone is making content for YouTube. 111 00:06:11,160 --> 00:06:15,239 Speaker 2: And it's like things have been so commodified and democratized 112 00:06:15,240 --> 00:06:19,719 Speaker 2: and kind of a not always the best way. What 113 00:06:19,960 --> 00:06:24,400 Speaker 2: theater does, and what this show does is it puts 114 00:06:24,480 --> 00:06:29,720 Speaker 2: the audience right in the middle of the performance and 115 00:06:29,880 --> 00:06:33,640 Speaker 2: makes them part of the story in real time and 116 00:06:33,720 --> 00:06:37,760 Speaker 2: in real space. And there is nowhere else, There's no 117 00:06:37,920 --> 00:06:42,000 Speaker 2: other space that allows you to do that and experience 118 00:06:42,160 --> 00:06:50,080 Speaker 2: that real that fundamental vibrancy of a live human being 119 00:06:50,400 --> 00:06:56,120 Speaker 2: acting in real time with you, that interaction. You cannot 120 00:06:56,160 --> 00:06:56,720 Speaker 2: replicate it. 121 00:06:57,680 --> 00:07:01,440 Speaker 1: I think about that often because I'm because I'm of 122 00:07:01,520 --> 00:07:04,320 Speaker 1: that crossover generation. I remember a time when I didn't 123 00:07:04,320 --> 00:07:07,120 Speaker 1: have a cell phone versus you know, kids these days. 124 00:07:07,160 --> 00:07:08,800 Speaker 1: I have no concept of what it would be like 125 00:07:08,880 --> 00:07:10,640 Speaker 1: to not have that, you know, in your face the 126 00:07:10,640 --> 00:07:12,720 Speaker 1: whole time. So because I'm of that, you know, and 127 00:07:12,760 --> 00:07:14,640 Speaker 1: I and I went to the I still do. But 128 00:07:14,680 --> 00:07:15,880 Speaker 1: I went to the theater a lot, and I went 129 00:07:16,040 --> 00:07:18,160 Speaker 1: with school when I was at school. And I think 130 00:07:18,160 --> 00:07:21,320 Speaker 1: it should now be just mandatory that we get our 131 00:07:21,440 --> 00:07:23,440 Speaker 1: kids to the theater and it's like you have to put 132 00:07:23,480 --> 00:07:25,120 Speaker 1: your phone in a basket when you arrive. I mean, 133 00:07:25,120 --> 00:07:28,040 Speaker 1: that should be a mandatory anyway for everybody, and they 134 00:07:28,040 --> 00:07:31,360 Speaker 1: have to sit and engage and I don't know literally, 135 00:07:31,480 --> 00:07:36,720 Speaker 1: but be in that immediacy once or months a month 136 00:07:36,760 --> 00:07:40,200 Speaker 1: or whatever because it's so lost. There are enormous benefits 137 00:07:40,240 --> 00:07:43,160 Speaker 1: to this, and I appreciate that, but there are also 138 00:07:43,400 --> 00:07:47,040 Speaker 1: enormous pitfalls. The attention span, the inability to connect that 139 00:07:47,080 --> 00:07:50,280 Speaker 1: stuff where if it doesn't happen in thirty seconds, you've 140 00:07:50,360 --> 00:07:54,240 Speaker 1: you've lost them, and the beauty of theater in that 141 00:07:54,320 --> 00:07:57,600 Speaker 1: it allows it can it can be confronting, it can 142 00:07:57,680 --> 00:08:00,320 Speaker 1: be it can hold a space for emotion in a 143 00:08:00,320 --> 00:08:00,760 Speaker 1: way that. 144 00:08:01,080 --> 00:08:05,040 Speaker 3: We're just we're losing it. We're just losing it absolutely. 145 00:08:05,120 --> 00:08:09,760 Speaker 2: I mean, how long is an average clip on TikTok nice? 146 00:08:10,040 --> 00:08:13,360 Speaker 2: You know I've watched because I work in film. That's 147 00:08:13,400 --> 00:08:16,760 Speaker 2: sort of my my main gig these days is directing film. 148 00:08:17,200 --> 00:08:20,800 Speaker 2: I've watched some of these entertainment magazine shows and then 149 00:08:20,880 --> 00:08:22,920 Speaker 2: I ask, like a total geek that I am. I 150 00:08:22,960 --> 00:08:27,280 Speaker 2: sit there and I can't. I can't how long the 151 00:08:27,360 --> 00:08:31,880 Speaker 2: shots are. And some of these shows the average shot 152 00:08:32,000 --> 00:08:36,160 Speaker 2: length is two seconds ye no more. That means the 153 00:08:36,200 --> 00:08:40,040 Speaker 2: audience is required to concentrate on a one shot for 154 00:08:40,080 --> 00:08:43,480 Speaker 2: only two seconds at a time. I also know, for instance, 155 00:08:43,720 --> 00:08:46,319 Speaker 2: listen to this, you probably know this, but it's fascinating. 156 00:08:47,600 --> 00:08:49,600 Speaker 2: So because I also I want to get involved in 157 00:08:49,600 --> 00:08:53,880 Speaker 2: pitching lots of shows and films. Right, so some of 158 00:08:53,920 --> 00:08:58,199 Speaker 2: the broadcasters will say to you, we love this idea, 159 00:08:58,880 --> 00:09:04,400 Speaker 2: but we find that this particular script isn't second screen friendly. 160 00:09:04,760 --> 00:09:05,760 Speaker 2: Do you know what that means? Yeah? 161 00:09:05,760 --> 00:09:07,760 Speaker 3: I do, because I mean your friend told me about 162 00:09:07,760 --> 00:09:08,520 Speaker 3: this the other day. 163 00:09:08,920 --> 00:09:12,960 Speaker 2: Right. It means if an audience can't follow this story 164 00:09:13,200 --> 00:09:17,839 Speaker 2: while watching another screen, then the commission editor is going 165 00:09:17,880 --> 00:09:22,280 Speaker 2: to reject it because it's too complicated. People need to 166 00:09:22,280 --> 00:09:25,400 Speaker 2: be able to follow a story wild while watching something 167 00:09:25,400 --> 00:09:27,600 Speaker 2: else on another screen. That's the world we live in now. 168 00:09:28,160 --> 00:09:31,560 Speaker 2: So we you know, in theater, we try. 169 00:09:31,480 --> 00:09:32,320 Speaker 3: And say, but no hope. 170 00:09:32,320 --> 00:09:34,560 Speaker 1: As an author, nobody's reading any of my books now, 171 00:09:34,679 --> 00:09:35,280 Speaker 1: forget it. 172 00:09:35,800 --> 00:09:38,800 Speaker 2: God well, terrifying the amazing things people do still read. 173 00:09:39,679 --> 00:09:41,880 Speaker 2: But you see what I'm saying, And I think, like 174 00:09:41,960 --> 00:09:44,120 Speaker 2: if we can, like my dream is I'm and I 175 00:09:44,120 --> 00:09:46,440 Speaker 2: did a show last night. This is just so so 176 00:09:46,720 --> 00:09:53,200 Speaker 2: amazing when you can commit to sitting and watching something 177 00:09:53,240 --> 00:09:57,440 Speaker 2: and we the performers, can commit to being with you 178 00:09:57,520 --> 00:10:00,840 Speaker 2: in that space to such a degree that you are 179 00:10:01,040 --> 00:10:06,120 Speaker 2: entirely engaged. There's one shot, you know, for an hour, yeah, 180 00:10:06,160 --> 00:10:11,720 Speaker 2: and one angle and it's about human beings interacting, and 181 00:10:11,760 --> 00:10:16,599 Speaker 2: it's about text and the words and how things are structured, 182 00:10:17,520 --> 00:10:21,400 Speaker 2: and also the commitment of performance to the characters, because 183 00:10:21,400 --> 00:10:24,959 Speaker 2: there's a certain it's like a magic trick, almost right, 184 00:10:25,120 --> 00:10:30,559 Speaker 2: to see a human being somehow become another being and 185 00:10:30,920 --> 00:10:37,720 Speaker 2: somehow taking a story something that's abstract and conjuring it 186 00:10:37,920 --> 00:10:41,000 Speaker 2: in such a way that you believe that their story 187 00:10:41,080 --> 00:10:46,400 Speaker 2: is true. There's something so fantastic about that. I mean, look, 188 00:10:46,640 --> 00:10:49,200 Speaker 2: I'm a film I love film. But we have all 189 00:10:49,240 --> 00:10:53,560 Speaker 2: these tricks. We have sets, we have lighting, we have score, 190 00:10:53,600 --> 00:10:57,360 Speaker 2: we have all these things, so it's easy to suspend 191 00:10:57,360 --> 00:11:03,080 Speaker 2: our disbelief. Theater asks something and I'm not sure what 192 00:11:03,200 --> 00:11:04,520 Speaker 2: it is, but I think it's magical. 193 00:11:04,679 --> 00:11:06,360 Speaker 3: Do you do you feel like that? 194 00:11:06,800 --> 00:11:08,480 Speaker 1: And I was saying that I kind of straddled a 195 00:11:08,559 --> 00:11:11,760 Speaker 1: generation of the befores and the afters. Do you feel 196 00:11:11,800 --> 00:11:14,040 Speaker 1: that we are getting to the is it possible to 197 00:11:14,200 --> 00:11:17,640 Speaker 1: claw it back? Is it possible that our that this 198 00:11:17,640 --> 00:11:20,280 Speaker 1: this new the TikTok generation. I hate that term, but 199 00:11:20,320 --> 00:11:22,480 Speaker 1: their TikTok? Are we just going to get to the 200 00:11:22,480 --> 00:11:24,839 Speaker 1: point where it's just we're the people in theater and 201 00:11:24,840 --> 00:11:26,400 Speaker 1: we're never going to get kids in and we're never 202 00:11:26,440 --> 00:11:29,120 Speaker 1: gonna how do you get that back? Because their dopamine 203 00:11:29,120 --> 00:11:31,839 Speaker 1: receptors are shot? So how how are we getting that back? 204 00:11:31,840 --> 00:11:33,680 Speaker 1: How were getting it back to the point where they're 205 00:11:33,679 --> 00:11:35,320 Speaker 1: going to be like we can go and sit in 206 00:11:35,320 --> 00:11:37,440 Speaker 1: a theater for an hour and a half or whatever 207 00:11:37,480 --> 00:11:41,160 Speaker 1: it might be. Or how well do you worry about 208 00:11:41,200 --> 00:11:41,640 Speaker 1: that stuff? 209 00:11:41,679 --> 00:11:45,920 Speaker 2: I do, of course I do, you know, yeah I do. 210 00:11:46,040 --> 00:11:51,520 Speaker 2: But also the older I get, the more I am 211 00:11:51,640 --> 00:11:58,400 Speaker 2: realizing that this is the possibility for things to change, right, 212 00:11:58,480 --> 00:12:02,840 Speaker 2: and things will must never stay the same. For instance, 213 00:12:02,960 --> 00:12:05,240 Speaker 2: I know that there's a bunch what's this new generation 214 00:12:05,880 --> 00:12:10,440 Speaker 2: generation p x Q whatever they call the latest ones. Now, 215 00:12:10,440 --> 00:12:13,400 Speaker 2: there's a bunch of these kids. They're buying phones now 216 00:12:13,440 --> 00:12:16,760 Speaker 2: that have no apps on them. There are even kids 217 00:12:16,800 --> 00:12:21,560 Speaker 2: are buying phones that have like the old dial and 218 00:12:21,600 --> 00:12:27,760 Speaker 2: they don't like doing all of this stuff because this, 219 00:12:28,840 --> 00:12:31,960 Speaker 2: I think there's such a degree of alienation that happens 220 00:12:32,000 --> 00:12:36,200 Speaker 2: that there is there is some movement of kids changing 221 00:12:36,240 --> 00:12:38,520 Speaker 2: these things, you know. And I also know that there 222 00:12:38,559 --> 00:12:40,760 Speaker 2: are you got to use a T drama school now 223 00:12:40,880 --> 00:12:44,240 Speaker 2: there are kids straight out of school theater. 224 00:12:45,600 --> 00:12:47,440 Speaker 3: And I think you don't think that there needs to 225 00:12:47,480 --> 00:12:50,040 Speaker 3: be a revolution for it to. 226 00:12:51,240 --> 00:12:52,280 Speaker 2: You just don't get me going. 227 00:12:53,640 --> 00:12:56,240 Speaker 3: I mean, now, go on, let's fire him up, let's 228 00:12:56,240 --> 00:12:57,160 Speaker 3: get lower on the open round. 229 00:12:57,640 --> 00:13:05,760 Speaker 2: All right. So people revolt when you're talking about revolution 230 00:13:06,200 --> 00:13:10,320 Speaker 2: when they are uncomfortable enough. That's a fact. As long 231 00:13:10,360 --> 00:13:12,560 Speaker 2: as people are comfortable enough, they won't do a thing. 232 00:13:13,720 --> 00:13:18,800 Speaker 2: So what that means, in my very humble opinion, is 233 00:13:21,000 --> 00:13:27,040 Speaker 2: will we get to a place where our discontent with reality, 234 00:13:27,400 --> 00:13:34,040 Speaker 2: our disengagement with reality? I don't know if it was you. 235 00:13:35,679 --> 00:13:38,000 Speaker 2: The What I'm trying to make is if we get 236 00:13:38,480 --> 00:13:41,720 Speaker 2: uncomfortable enough, we will do something about it. 237 00:13:41,920 --> 00:13:42,640 Speaker 3: Yeah. 238 00:13:42,840 --> 00:13:46,280 Speaker 2: What scares me is what that discomfort will look like. 239 00:13:47,559 --> 00:13:51,880 Speaker 2: You know, I don't know, is it yours? It? Me? 240 00:13:52,240 --> 00:13:55,120 Speaker 3: So sorry, it's me. I'm so sorry. 241 00:13:55,200 --> 00:13:57,880 Speaker 2: I don't know anyone can hear it a little bit, 242 00:13:57,920 --> 00:13:58,600 Speaker 2: but respect. 243 00:14:03,320 --> 00:14:09,160 Speaker 1: In twenty years of broadcasting, never radio, if radio had subtitles, 244 00:14:09,200 --> 00:14:10,840 Speaker 1: you know, there's some close captions on TV. 245 00:14:10,880 --> 00:14:13,679 Speaker 2: I don't know what would have said large stommach grumble 246 00:14:13,720 --> 00:14:19,840 Speaker 2: from across the desk anyway. Yeah, look, you know what 247 00:14:19,880 --> 00:14:24,520 Speaker 2: I'm saying, Like, I think it's arguable that as a 248 00:14:24,880 --> 00:14:27,600 Speaker 2: as a species, we're heading towards some kind of crisis. 249 00:14:27,960 --> 00:14:31,800 Speaker 2: But you know what, I Am not going to fall 250 00:14:31,880 --> 00:14:35,320 Speaker 2: into the trap of hopelessness and cynicism. I just can't 251 00:14:35,360 --> 00:14:37,800 Speaker 2: afford to, you know what I mean. I have to 252 00:14:37,840 --> 00:14:42,600 Speaker 2: believe that we are still capable of incredible things. I 253 00:14:42,600 --> 00:14:46,000 Speaker 2: mean I have to because I work in a completely insane, right, 254 00:14:46,520 --> 00:14:51,200 Speaker 2: like utterly hopeless industry like agree film for instance, is 255 00:14:51,280 --> 00:14:55,200 Speaker 2: a is a bad investment. Theater is a terrible business 256 00:14:55,200 --> 00:14:56,640 Speaker 2: to be in, you know what I mean, And those 257 00:14:56,760 --> 00:14:59,640 Speaker 2: that's what I do. So if I if I had 258 00:14:59,640 --> 00:15:02,280 Speaker 2: to get into cynicism, I wouldn't get up in the morning. 259 00:15:03,560 --> 00:15:06,960 Speaker 2: And I've seen incredible things. Yeah, you know, I'll give 260 00:15:07,000 --> 00:15:11,080 Speaker 2: you an example. Uh, last night before my shot, I 261 00:15:11,120 --> 00:15:12,600 Speaker 2: did a show with Rob last night. 262 00:15:12,840 --> 00:15:17,400 Speaker 1: Yes, I saw a very interesting photograph. 263 00:15:18,200 --> 00:15:21,600 Speaker 2: Oh golly, yes, on the web. I don't even think 264 00:15:21,600 --> 00:15:24,400 Speaker 2: we can say anything on about I'm going to. 265 00:15:24,480 --> 00:15:26,800 Speaker 1: Let you say if you like, because I've got a 266 00:15:26,840 --> 00:15:30,320 Speaker 1: bond and children that need to go to school, and 267 00:15:30,360 --> 00:15:32,040 Speaker 1: so the b c s A, c c s A, 268 00:15:32,080 --> 00:15:35,000 Speaker 1: if they want to come, they can come via you. 269 00:15:34,920 --> 00:15:37,520 Speaker 2: You know what, I'll tell you when we can use 270 00:15:37,680 --> 00:15:40,960 Speaker 2: we can use our fancy words, we can say that 271 00:15:42,760 --> 00:15:52,480 Speaker 2: was clad in a brightly colored, overtly peltic head gear 272 00:15:54,480 --> 00:15:56,520 Speaker 2: with his little with his little face. 273 00:15:56,400 --> 00:16:00,640 Speaker 3: Poking rob beauty full face. 274 00:16:02,400 --> 00:16:06,600 Speaker 2: Anyways, Yeah, it was a show, so yeah, and it's 275 00:16:06,640 --> 00:16:10,280 Speaker 2: it's rather a large piece of head gear. Anyways. The 276 00:16:10,320 --> 00:16:14,440 Speaker 2: point is angry, yes, vascular. 277 00:16:14,400 --> 00:16:17,560 Speaker 3: Vascular, awful words. 278 00:16:17,720 --> 00:16:20,760 Speaker 2: I know you told me, now I know. Let me 279 00:16:20,760 --> 00:16:23,280 Speaker 2: also say that pink of your top was not far 280 00:16:23,320 --> 00:16:26,320 Speaker 2: off we saw in the picture. So the point what 281 00:16:26,400 --> 00:16:30,800 Speaker 2: I'm trying to make, the point I'm trying to make exactly. Yeah, 282 00:16:31,400 --> 00:16:33,480 Speaker 2: the point I'm trying to make is that before the 283 00:16:33,520 --> 00:16:36,440 Speaker 2: show I had a bit of a cold. I have 284 00:16:36,480 --> 00:16:41,400 Speaker 2: a bit of a cold. You know, we didn't have 285 00:16:41,480 --> 00:16:43,800 Speaker 2: five hundred people in the audience. We had whatever we had. 286 00:16:45,080 --> 00:16:49,040 Speaker 2: So I was like, what is what is going to 287 00:16:49,080 --> 00:16:54,240 Speaker 2: be my feeling tonight about this? And you know what 288 00:16:54,280 --> 00:17:00,080 Speaker 2: it was? I wrote this morning in my inventory, my 289 00:17:00,080 --> 00:17:04,080 Speaker 2: my approached to last night's show was I am surrendering 290 00:17:04,920 --> 00:17:13,040 Speaker 2: completely utterly to the work. I am going to surrender 291 00:17:13,440 --> 00:17:18,200 Speaker 2: to the joy of performance. I'm going to surrender completely 292 00:17:18,760 --> 00:17:21,160 Speaker 2: to the love and the bond that I share with 293 00:17:21,200 --> 00:17:28,880 Speaker 2: my performer. I'm going to surrender entirely to giving this 294 00:17:29,000 --> 00:17:32,600 Speaker 2: audience something, and I'm going to surrender entirely to having fun. 295 00:17:34,480 --> 00:17:38,320 Speaker 2: I had the most incredible show last night. It was 296 00:17:38,600 --> 00:17:43,240 Speaker 2: incredible because if I take away the need to be 297 00:17:43,359 --> 00:17:49,200 Speaker 2: successful or to achieve something and focus on the fundamental 298 00:17:49,240 --> 00:17:55,560 Speaker 2: things and the humanity of the situation, Bam, that's it. 299 00:17:55,720 --> 00:17:58,800 Speaker 2: That's magic, and I will I love for that stuff. 300 00:17:58,840 --> 00:18:03,399 Speaker 2: I mean, there's nothing like it. It's absolutely mind blowingly 301 00:18:03,480 --> 00:18:07,160 Speaker 2: satisfying knowing that I'm doing this because I love it 302 00:18:07,200 --> 00:18:09,960 Speaker 2: and no other reason, and the audience can feel it, 303 00:18:10,040 --> 00:18:12,080 Speaker 2: and they go with you all the way. That's the 304 00:18:12,080 --> 00:18:15,160 Speaker 2: thing I'm talking about. You are. I will never give 305 00:18:15,200 --> 00:18:17,600 Speaker 2: you that, and APP will never give you that. Only 306 00:18:18,200 --> 00:18:20,760 Speaker 2: being in a room with a human being that's throwing 307 00:18:20,760 --> 00:18:22,760 Speaker 2: the entire soul at you, You're going to get that. 308 00:18:23,440 --> 00:18:28,200 Speaker 1: I use someone for whom that surrender comes easily. Because 309 00:18:29,320 --> 00:18:31,919 Speaker 1: everything you're saying, I'm nodding along. I feel largely the 310 00:18:31,960 --> 00:18:35,280 Speaker 1: same way about that what you've described as I do 311 00:18:35,400 --> 00:18:37,399 Speaker 1: sitting in this seat. Some people are going to like it. 312 00:18:37,440 --> 00:18:40,000 Speaker 1: Some people aren't going to like it. But do I do. 313 00:18:40,080 --> 00:18:44,600 Speaker 1: I like what I'm doing, And yet I'm somebody for 314 00:18:44,680 --> 00:18:48,240 Speaker 1: whom that handing it over, letting go, surrendering, whatever you 315 00:18:48,280 --> 00:18:51,520 Speaker 1: want to call it, does not come easily at all. 316 00:18:51,560 --> 00:18:54,720 Speaker 1: It is something that I have to practice an awful lot. 317 00:18:55,280 --> 00:19:03,720 Speaker 2: Okay. Yes, So the medium answer, the medium answer to 318 00:19:03,760 --> 00:19:07,840 Speaker 2: that is no, I don't think surrender comes naturally to anybody. 319 00:19:08,080 --> 00:19:14,480 Speaker 2: I think surrender is difficult. I've been fortunate enough to 320 00:19:16,440 --> 00:19:21,840 Speaker 2: have had a very conscious spiritual awakening in my life 321 00:19:22,119 --> 00:19:26,880 Speaker 2: after the age of forty, okay, and what that has 322 00:19:26,920 --> 00:19:29,520 Speaker 2: allowed me. It's not religious, by the way, just spiritual, 323 00:19:31,160 --> 00:19:34,640 Speaker 2: I get you. Yeah, And at the heart of that 324 00:19:35,000 --> 00:19:42,840 Speaker 2: is a very conscious movement away from what we call 325 00:19:42,960 --> 00:19:49,040 Speaker 2: self will right and surrendering to things greater than oneself. 326 00:19:49,040 --> 00:19:51,440 Speaker 3: A power greater than oneself, one might say. 327 00:19:52,000 --> 00:19:54,200 Speaker 2: Not just a power greater than myself, but that as well, 328 00:19:54,240 --> 00:19:59,920 Speaker 2: but also principles greater than oneself. Okay. And the result 329 00:20:00,119 --> 00:20:03,199 Speaker 2: of that is wonderful. There's a lot of freedom in 330 00:20:03,240 --> 00:20:06,880 Speaker 2: that and the ability to surrender to things greater than oneself. 331 00:20:08,080 --> 00:20:12,600 Speaker 2: But you said, is it easy? Absolutely not. It's difficult. 332 00:20:12,760 --> 00:20:18,040 Speaker 2: That surrender is difficult, and the way for me to 333 00:20:18,160 --> 00:20:25,000 Speaker 2: achieve surrender is constant daily practice. That's what it is. 334 00:20:25,800 --> 00:20:38,119 Speaker 2: Consciously practicing. Some kind of spirituality accountability inventory and you know, 335 00:20:38,920 --> 00:20:43,800 Speaker 2: vigorous honesty with some kind of accountability partner. You know 336 00:20:44,000 --> 00:20:48,199 Speaker 2: that if you don't practice, you just end up No, 337 00:20:48,480 --> 00:20:50,320 Speaker 2: and I can't say you I mean me when I 338 00:20:50,320 --> 00:20:53,280 Speaker 2: say that. If I don't practice, I end up in 339 00:20:53,320 --> 00:20:57,240 Speaker 2: a place where I'm self obsessed and my ego takes 340 00:20:57,280 --> 00:21:00,960 Speaker 2: over and I fret about the little things it's about me, 341 00:21:01,200 --> 00:21:03,520 Speaker 2: and yeah, what, you know, what am I achieving? And 342 00:21:03,560 --> 00:21:05,520 Speaker 2: when I when I focus on other people and when 343 00:21:05,520 --> 00:21:10,639 Speaker 2: I focus on principles and ideas and a higher power 344 00:21:10,640 --> 00:21:13,400 Speaker 2: than myself, well then I'm good. 345 00:21:13,640 --> 00:21:13,880 Speaker 3: Yeah. 346 00:21:14,040 --> 00:21:16,240 Speaker 2: And then I feel like I'm doing the best things 347 00:21:16,280 --> 00:21:19,040 Speaker 2: in my life. I'm writing better than I've ever written. 348 00:21:21,560 --> 00:21:25,920 Speaker 2: I'm finding a great joy in performance. And you know, 349 00:21:26,320 --> 00:21:28,479 Speaker 2: when it works, it works, and when it doesn't, it doesn't. 350 00:21:28,560 --> 00:21:31,640 Speaker 2: And I'm okay with that, you know, like what's cool. 351 00:21:32,200 --> 00:21:34,560 Speaker 2: Whatever happens happens. I just need to pitch up and 352 00:21:34,600 --> 00:21:35,359 Speaker 2: do what I need to do. 353 00:21:35,520 --> 00:21:37,400 Speaker 3: Yeah, yeah, do the next right thing. 354 00:21:38,000 --> 00:21:41,840 Speaker 1: No fantas since studio with this he is on stage 355 00:21:42,920 --> 00:21:46,440 Speaker 1: from this Wednesday, right, let me get this right. Wednesday, 356 00:21:47,320 --> 00:21:51,520 Speaker 1: which is the eighth. It is the eighth, the eighth 357 00:21:51,600 --> 00:21:59,639 Speaker 1: the fifteenth and the twenty second Cafe Rue on the 358 00:22:00,119 --> 00:22:04,600 Speaker 1: depth of April Dead Dad. What's it been like working 359 00:22:04,600 --> 00:22:05,120 Speaker 1: with fun Fear? 360 00:22:05,200 --> 00:22:09,840 Speaker 2: And again, it's absolutely terrible. He's just such a terrible, terrible, 361 00:22:10,480 --> 00:22:20,320 Speaker 2: such a dreadful man. I love Rob so much, so much. 362 00:22:20,560 --> 00:22:24,359 Speaker 2: We've been through so, so, so, so many things. My 363 00:22:24,400 --> 00:22:28,120 Speaker 2: wife is sitting right next to him here, and I've 364 00:22:28,119 --> 00:22:31,320 Speaker 2: known Rob almost as long as I've known this woman, 365 00:22:32,240 --> 00:22:39,879 Speaker 2: and I mean, it's insane. We've been through births, deaths, 366 00:22:40,640 --> 00:22:46,160 Speaker 2: We've toured' we unfortunately know each other's body odors, and 367 00:22:48,119 --> 00:22:53,520 Speaker 2: you know, and we've created so many shows together. I'm 368 00:22:53,560 --> 00:22:56,560 Speaker 2: not joking. But when I say literally hundreds of shows 369 00:22:56,600 --> 00:23:00,720 Speaker 2: we've written together, Like I said, he directed The Best 370 00:23:00,720 --> 00:23:04,800 Speaker 2: Man's Speech and he's directing Dead Dad. And after twenty 371 00:23:04,840 --> 00:23:11,280 Speaker 2: five years working together, you tend to develop a shorthand yeah, 372 00:23:12,240 --> 00:23:15,240 Speaker 2: you know, yeah, And he understands me, and I understand 373 00:23:15,359 --> 00:23:19,000 Speaker 2: him very very well. So when he gives me a note, 374 00:23:20,600 --> 00:23:25,520 Speaker 2: I take it. I understand where it comes from immediately, 375 00:23:27,720 --> 00:23:30,720 Speaker 2: and in the same way that I helped him. I mean, 376 00:23:30,760 --> 00:23:36,480 Speaker 2: I directed his Namaste Bay show. We have a process 377 00:23:36,520 --> 00:23:39,120 Speaker 2: where it's we start at the script level. So it's 378 00:23:39,119 --> 00:23:43,560 Speaker 2: not like someone writes a script and then the other 379 00:23:43,720 --> 00:23:46,440 Speaker 2: guy comes in and directs. Like there is a script. 380 00:23:46,560 --> 00:23:49,640 Speaker 2: We allow that that takes to be alive and developed 381 00:23:49,640 --> 00:23:54,359 Speaker 2: as we go through the rehearsal process. Were open to that. Ye, no, 382 00:23:54,680 --> 00:23:59,560 Speaker 2: it's incredible. I don't know if there is any other 383 00:24:00,840 --> 00:24:06,480 Speaker 2: person from our generation that has the goods like. 384 00:24:08,119 --> 00:24:10,520 Speaker 3: He was on. When was he on last year? I've 385 00:24:10,560 --> 00:24:12,200 Speaker 3: seen him in the prop do it? They want to say? 386 00:24:12,240 --> 00:24:14,439 Speaker 2: The promise, the promise. 387 00:24:15,880 --> 00:24:18,040 Speaker 1: I still talk about that to this day. It's just this, 388 00:24:18,040 --> 00:24:20,399 Speaker 1: this moment of I could not take. 389 00:24:20,160 --> 00:24:21,000 Speaker 3: My eyes off him. 390 00:24:21,200 --> 00:24:24,080 Speaker 1: Then I saw him as something else that Ian Gabriel did, 391 00:24:26,000 --> 00:24:31,199 Speaker 1: some crazy movie that Ian did with his son, just fabulous. Again, 392 00:24:32,240 --> 00:24:37,120 Speaker 1: was that I can't family something something like that. 393 00:24:37,760 --> 00:24:40,439 Speaker 2: And then of course what's this, don't just go to 394 00:24:40,480 --> 00:24:44,080 Speaker 2: the dogster dot? Oh god? I mean yeah, no, he's 395 00:24:45,040 --> 00:24:48,240 Speaker 2: it's just very short, that's true. 396 00:24:49,040 --> 00:24:50,800 Speaker 3: In fairness to him, there's not much he can do 397 00:24:50,840 --> 00:24:53,679 Speaker 3: about that. Yeah, this junction. 398 00:24:53,800 --> 00:24:55,440 Speaker 2: He can do whatever you want. He can win as 399 00:24:55,480 --> 00:24:58,040 Speaker 2: many awards as he like, and he can you know, 400 00:24:58,160 --> 00:24:59,800 Speaker 2: be in as many as shows, but he will never 401 00:24:59,880 --> 00:25:05,520 Speaker 2: be as tall as me. And it's just just great 402 00:25:05,960 --> 00:25:08,680 Speaker 2: for me. He's a he's a short, short little man. 403 00:25:09,160 --> 00:25:13,199 Speaker 2: But the point I'm trying to make is that the 404 00:25:13,240 --> 00:25:14,960 Speaker 2: point I'm trying to make is that he is a 405 00:25:15,200 --> 00:25:17,000 Speaker 2: giant despite his dominion. 406 00:25:17,920 --> 00:25:20,960 Speaker 3: Here's the turnaround for that he is. 407 00:25:21,000 --> 00:25:24,200 Speaker 2: He is a giant. He is absolutely giant. He's so creative, 408 00:25:24,320 --> 00:25:28,120 Speaker 2: he's so lovely. He's just a super good human being 409 00:25:28,240 --> 00:25:31,960 Speaker 2: and honestly cannot think of anybody better than than Rob 410 00:25:32,040 --> 00:25:34,280 Speaker 2: to to help me put this thing together. 411 00:25:34,920 --> 00:25:35,680 Speaker 3: Runs in the family. 412 00:25:36,359 --> 00:25:39,919 Speaker 2: Ah, there you go, well done, So that's what you No, 413 00:25:40,040 --> 00:25:43,719 Speaker 2: I can't, Vicky did. 414 00:25:43,760 --> 00:25:44,479 Speaker 3: It's nothing to do. 415 00:25:44,600 --> 00:25:47,240 Speaker 2: I thought that I was sitting here telling you like 416 00:25:47,440 --> 00:25:50,159 Speaker 2: all this stuff and you're just sitting there. What was 417 00:25:50,160 --> 00:25:52,760 Speaker 2: called something about family man? 418 00:25:55,640 --> 00:25:55,960 Speaker 1: I was? 419 00:25:56,040 --> 00:25:58,800 Speaker 3: I was locked in, Vicky was frantic. 420 00:25:58,960 --> 00:25:59,760 Speaker 2: Well done, Vicky. 421 00:26:01,359 --> 00:26:03,040 Speaker 3: We've got to wrap up. That is desperately sad. 422 00:26:04,160 --> 00:26:07,120 Speaker 1: I know it is, it really is. I was told 423 00:26:07,119 --> 00:26:11,639 Speaker 1: you were going to be liquor and you are. Come on, 424 00:26:11,800 --> 00:26:12,400 Speaker 1: brain fog. 425 00:26:12,840 --> 00:26:14,439 Speaker 3: Did you ever see death? No? 426 00:26:15,480 --> 00:26:20,600 Speaker 2: I have seen death. Unfortunately. The shows about. 427 00:26:22,440 --> 00:26:28,520 Speaker 1: Into the into the microphone a funeral absolutely British, British one. 428 00:26:28,480 --> 00:26:30,680 Speaker 2: Absolutely loved it. In fact, you know what Day of 429 00:26:30,720 --> 00:26:35,879 Speaker 2: the Funeral was was one of the inspirations. That's what 430 00:26:36,240 --> 00:26:39,440 Speaker 2: behind Confetti, I mean, which was the film based on 431 00:26:39,480 --> 00:26:43,720 Speaker 2: the Basement's speech. Okay, my producer and I used to 432 00:26:43,960 --> 00:26:45,639 Speaker 2: we used to have this phrase. It was like, but 433 00:26:45,680 --> 00:26:48,960 Speaker 2: do you have a midget in the coffin? You know 434 00:26:49,040 --> 00:26:52,560 Speaker 2: what I mean? It became like a working concept. Where's 435 00:26:52,560 --> 00:26:54,159 Speaker 2: the where's the midget in the coffin? 436 00:26:54,160 --> 00:26:54,800 Speaker 3: Absolutely? 437 00:26:55,040 --> 00:26:59,440 Speaker 2: So yeah, absolutely, I mean we're trying not to be derivative, 438 00:26:59,520 --> 00:27:07,000 Speaker 2: of course, but just thinks it's because of the steaks 439 00:27:05,920 --> 00:27:08,400 Speaker 2: heightened exactly. The Jepardy. 440 00:27:08,680 --> 00:27:11,680 Speaker 3: That's the thing, isn't it. The Jeopardy? 441 00:27:11,800 --> 00:27:16,200 Speaker 2: I love that film. What's that guy called Dinklage? Oh 442 00:27:16,240 --> 00:27:18,119 Speaker 2: my gosh, he is so great? 443 00:27:18,440 --> 00:27:20,159 Speaker 3: But you know who's also great in that? And now 444 00:27:20,480 --> 00:27:22,280 Speaker 3: we're still I don't remember anyone else. 445 00:27:22,320 --> 00:27:25,320 Speaker 1: I can't remember anyone else either, but that the brother, 446 00:27:25,560 --> 00:27:27,399 Speaker 1: the brother who is having to kind of hold all 447 00:27:27,440 --> 00:27:33,720 Speaker 1: this together, takes all the drugs, just just so spectacular. 448 00:27:33,359 --> 00:27:36,120 Speaker 2: Yes, so good. Well, that's that character is a little 449 00:27:36,160 --> 00:27:40,000 Speaker 2: bit like my character. Look as in that he means 450 00:27:40,240 --> 00:27:43,080 Speaker 2: so well, yeah, but he just. 451 00:27:44,600 --> 00:27:45,040 Speaker 3: So good. 452 00:27:45,080 --> 00:27:48,919 Speaker 2: Computer says no, computer says. 453 00:27:48,720 --> 00:27:51,880 Speaker 3: No, remember one where you used to think that was funny. 454 00:27:52,440 --> 00:27:55,240 Speaker 2: Yeah, well I still do. Listen, I've lost it a bit. 455 00:27:55,720 --> 00:28:00,920 Speaker 2: How old are you my age? You young? Yes, I am, 456 00:28:01,040 --> 00:28:02,000 Speaker 2: I'm much older. 457 00:28:02,600 --> 00:28:03,280 Speaker 3: We're the same. 458 00:28:03,480 --> 00:28:04,560 Speaker 2: No, I'm fifty one this year. 459 00:28:06,520 --> 00:28:07,720 Speaker 3: You've preserved yourself. 460 00:28:07,760 --> 00:28:09,919 Speaker 2: Well, you don't have no idea how broken I am 461 00:28:09,920 --> 00:28:10,560 Speaker 2: on the no. 462 00:28:10,600 --> 00:28:11,520 Speaker 3: Ditto as well. 463 00:28:12,040 --> 00:28:12,280 Speaker 2: You know. 464 00:28:14,640 --> 00:28:17,000 Speaker 3: It's me and twelve little steps, just getting through the day. 465 00:28:18,160 --> 00:28:20,400 Speaker 3: It's we have do we have to wrap up? 466 00:28:20,560 --> 00:28:22,040 Speaker 2: Okay? Yeah? 467 00:28:22,080 --> 00:28:24,720 Speaker 3: The bosses are telling me that why are you? Like 468 00:28:25,520 --> 00:28:26,880 Speaker 3: is she is not even here? 469 00:28:26,920 --> 00:28:29,399 Speaker 1: We can keep going for another give me another three minutes. 470 00:28:29,440 --> 00:28:31,800 Speaker 1: Give me what are you finding funny at the moment? Like, 471 00:28:31,840 --> 00:28:33,960 Speaker 1: what what tickles your funny bone? 472 00:28:41,000 --> 00:28:43,600 Speaker 3: Now I'm going to be no, go on, oh dear, 473 00:28:44,160 --> 00:28:45,959 Speaker 3: oh don't, don't, don't ruin it. 474 00:28:47,240 --> 00:28:49,720 Speaker 2: Well, I don't really find a hell of a lot 475 00:28:49,760 --> 00:28:54,600 Speaker 2: of things. I mean, let's be honest. The world is 476 00:28:54,640 --> 00:29:00,640 Speaker 2: in a bad, terrible, bad, bad way, right. I think 477 00:29:00,880 --> 00:29:03,680 Speaker 2: what I've maybe something I do find funding, For instance, 478 00:29:03,760 --> 00:29:09,200 Speaker 2: is the way that the megamrons out there in the 479 00:29:09,320 --> 00:29:13,680 Speaker 2: universe are suddenly going, Oh but it's Donald Trump, a 480 00:29:13,720 --> 00:29:19,720 Speaker 2: bad guy. Like you know when someone told you the 481 00:29:19,760 --> 00:29:23,959 Speaker 2: first forty times who they are and you don't get it, 482 00:29:24,000 --> 00:29:26,800 Speaker 2: and then suddenly on the forty first time, you go, 483 00:29:27,240 --> 00:29:32,520 Speaker 2: oh really that is astounding. What I find the standing 484 00:29:32,520 --> 00:29:40,360 Speaker 2: in that situation is, for instance, the evangelicals, the profound 485 00:29:40,680 --> 00:29:49,320 Speaker 2: irony of somehow elevating this orange muppet, you know, because 486 00:29:50,120 --> 00:29:53,200 Speaker 2: why it's just like it's amazing. So I do find 487 00:29:53,200 --> 00:29:55,000 Speaker 2: that kind of funny, Sure. 488 00:29:55,360 --> 00:29:57,600 Speaker 3: You I do. 489 00:29:58,680 --> 00:30:02,200 Speaker 1: I like a sick joke, sick, A sick joke, yeah, 490 00:30:02,360 --> 00:30:03,040 Speaker 1: a sick joke. 491 00:30:03,280 --> 00:30:04,400 Speaker 2: Yeah, it's insane. 492 00:30:05,280 --> 00:30:08,600 Speaker 3: I'm at the point where I that. 493 00:30:08,680 --> 00:30:11,000 Speaker 1: All the stuff, all that, all the bad stuff that's 494 00:30:11,040 --> 00:30:15,960 Speaker 1: going on, I have to now limit my consumption of that. 495 00:30:16,720 --> 00:30:19,360 Speaker 1: And for years I felt bad about doing that or 496 00:30:19,440 --> 00:30:21,160 Speaker 1: my desire to do that, because I'm a journalist and 497 00:30:21,160 --> 00:30:24,440 Speaker 1: I'm a consumer. And then I go, no, but you're 498 00:30:24,480 --> 00:30:27,120 Speaker 1: also like a mother, and you're also somebody that needs 499 00:30:27,160 --> 00:30:29,600 Speaker 1: to shaft. You can still be informed but not have 500 00:30:29,680 --> 00:30:32,520 Speaker 1: to ingest all the crap. Because I was realizing that 501 00:30:32,680 --> 00:30:35,280 Speaker 1: ingesting all the crap was was making me not very well, 502 00:30:35,920 --> 00:30:36,680 Speaker 1: do you know what I mean? 503 00:30:36,840 --> 00:30:39,400 Speaker 2: I totally know what you mean. Like I had a 504 00:30:39,440 --> 00:30:42,120 Speaker 2: couple of years ago when I still had a Facebook account. 505 00:30:43,320 --> 00:30:47,520 Speaker 2: Somebody that I used to be at school with posted 506 00:30:47,560 --> 00:30:53,920 Speaker 2: something about abuse child abuse on their Facebook page. It's 507 00:30:53,960 --> 00:30:57,040 Speaker 2: just like basically just read telling a story. And I 508 00:30:57,200 --> 00:31:00,840 Speaker 2: wrote to them and I said, why are you doing this? 509 00:31:01,760 --> 00:31:04,920 Speaker 2: And they said, no, I'm spreading awareness. And I was like, 510 00:31:06,280 --> 00:31:10,400 Speaker 2: what do you mean You're spreading awareness? What does that mean? 511 00:31:11,840 --> 00:31:17,000 Speaker 2: You're In my opinion, there's there's something like rubbernecking as well. 512 00:31:17,640 --> 00:31:20,360 Speaker 2: I'm driving past the car accident and I'm having a look, 513 00:31:20,960 --> 00:31:26,240 Speaker 2: I'm not, you know. And in the broader, broader sort 514 00:31:26,240 --> 00:31:29,520 Speaker 2: of context of this conversation we've been having about our 515 00:31:29,560 --> 00:31:31,600 Speaker 2: phones and our apps and the way we consume media 516 00:31:31,640 --> 00:31:36,520 Speaker 2: and so on, there is this sort of almost borrowed 517 00:31:36,680 --> 00:31:41,840 Speaker 2: accountability that we that we allow ourselves by you know, 518 00:31:41,920 --> 00:31:44,880 Speaker 2: consuming this stuff. Because we say that we're making ourselves aware, 519 00:31:45,080 --> 00:31:50,120 Speaker 2: becoming aware of things. What does that translate to nothing? 520 00:31:50,840 --> 00:31:54,400 Speaker 2: It translates to nothing. And I'm guilty of there's obviously myself, 521 00:31:54,960 --> 00:31:56,520 Speaker 2: because I feel like I need to know what's going 522 00:31:56,560 --> 00:32:00,640 Speaker 2: on in the world. But unless I'm somehow participating, you know, what, 523 00:32:00,720 --> 00:32:03,400 Speaker 2: am I really what am I really doing? Am I 524 00:32:03,480 --> 00:32:05,760 Speaker 2: just poisoning my mind? Am I just you know? Like 525 00:32:06,760 --> 00:32:10,520 Speaker 2: it's almost like there's a little serotonin rush or a 526 00:32:10,560 --> 00:32:13,960 Speaker 2: little dopamine kick or something that I get from being 527 00:32:14,040 --> 00:32:17,680 Speaker 2: shocked over and over and over and in some twisted 528 00:32:17,720 --> 00:32:24,520 Speaker 2: way become addicted to these things. So I luckily am 529 00:32:24,600 --> 00:32:28,120 Speaker 2: fortunate that I get to some extent to say things 530 00:32:28,120 --> 00:32:34,920 Speaker 2: in public. And so then I talk about the human condition. 531 00:32:35,880 --> 00:32:40,000 Speaker 2: I don't really get into politics, but at the heart 532 00:32:40,320 --> 00:32:45,720 Speaker 2: of everything we do is the human being, right, So 533 00:32:45,800 --> 00:32:51,080 Speaker 2: my participation in that is to say, how am I 534 00:32:51,120 --> 00:32:54,640 Speaker 2: behaving as human being? What am I contributing to the 535 00:32:54,680 --> 00:32:59,120 Speaker 2: greater consciousness of the world. You know, my interactions with 536 00:32:59,160 --> 00:33:02,880 Speaker 2: other people, the service that I can provide to other 537 00:33:02,880 --> 00:33:07,600 Speaker 2: people in my life, my family, my wife, my kids, 538 00:33:09,360 --> 00:33:13,640 Speaker 2: those things matter, you know, and and and in that sense, 539 00:33:14,760 --> 00:33:16,800 Speaker 2: to some extent, I think my awareness of all this 540 00:33:18,160 --> 00:33:23,920 Speaker 2: is important because I often thought about it me too. 541 00:33:28,200 --> 00:33:30,720 Speaker 2: You know, the way if you behave in a harmful 542 00:33:30,800 --> 00:33:34,240 Speaker 2: way to another human being, then you know, hurt people, 543 00:33:34,280 --> 00:33:38,680 Speaker 2: hurt people. Those things tend to echo. But similarly, I 544 00:33:38,720 --> 00:33:44,680 Speaker 2: think in a service service to other people also echoes 545 00:33:44,720 --> 00:33:47,520 Speaker 2: out and branches out and so on and so forth. 546 00:33:48,080 --> 00:33:51,160 Speaker 2: So you know, I think in that context it makes 547 00:33:51,200 --> 00:33:53,360 Speaker 2: sense to you know what's going on and and have 548 00:33:53,440 --> 00:33:56,440 Speaker 2: some awareness and have an opinion and have a possession. 549 00:33:58,560 --> 00:34:03,680 Speaker 2: But this idea, yeah, that just you know, we aren't 550 00:34:03,880 --> 00:34:10,200 Speaker 2: spreading awareness. Touchtavism they call it. Yeah, it's so dangerous 551 00:34:10,200 --> 00:34:13,680 Speaker 2: because it's in effect, it's like a perceived we're saying, 552 00:34:13,800 --> 00:34:16,160 Speaker 2: I'm not going to do anything. I'm just going to 553 00:34:16,320 --> 00:34:17,160 Speaker 2: post about it. 554 00:34:17,160 --> 00:34:17,680 Speaker 3: The performance. 555 00:34:17,719 --> 00:34:20,400 Speaker 2: We're going to af forward this. Someone's going to repost that. 556 00:34:21,760 --> 00:34:23,080 Speaker 2: What are you saying? Nothing? 557 00:34:24,480 --> 00:34:28,200 Speaker 3: Dead Dad is on a Court Bay theater. I'm good. 558 00:34:28,280 --> 00:34:29,440 Speaker 3: I will come and see it, I. 559 00:34:29,360 --> 00:34:35,600 Speaker 2: Mean better and bring bring that guy. I will not 560 00:34:36,160 --> 00:34:37,760 Speaker 2: take no for an answer. 561 00:34:43,760 --> 00:34:46,719 Speaker 3: Give me the dates again, please, eight, the fifteenth and 562 00:34:46,760 --> 00:34:47,800 Speaker 3: the twenty now. 563 00:34:47,719 --> 00:34:51,400 Speaker 2: Yes, eight fifteen, twenty second at Cortworth Theater and the 564 00:34:51,400 --> 00:34:54,279 Speaker 2: twenty fifth at But I need you to commit to 565 00:34:54,440 --> 00:34:56,040 Speaker 2: one of those dates now because they do. I'll give 566 00:34:56,040 --> 00:34:57,640 Speaker 2: your tickets, but you have to tell me right now 567 00:34:57,680 --> 00:34:58,560 Speaker 2: which night it's going to be. 568 00:34:58,600 --> 00:35:01,160 Speaker 3: Wednesday night? This Wednesday, this Wednesday night. 569 00:35:01,040 --> 00:35:08,160 Speaker 2: Two tickets and ladies and gentlemen. That is how blackmail 570 00:35:08,400 --> 00:35:11,000 Speaker 2: is done in South Africa? Or is it is this craft? 571 00:35:11,040 --> 00:35:11,480 Speaker 2: What is it? 572 00:35:11,840 --> 00:35:12,560 Speaker 3: This is craft? 573 00:35:12,680 --> 00:35:15,360 Speaker 2: Okay, this is graft. This is it's done in South Africa. 574 00:35:16,640 --> 00:35:19,279 Speaker 3: Oh, that's so funny, he says, he'll be there all right. 575 00:35:19,320 --> 00:35:22,480 Speaker 3: It's nine forty two. Listen to Weekend Breakfast